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Chicago Sinfonietta was already markedly different from its counterparts when it played its first notes in 1987. Its founder and conductor Paul Freeman wanted to create a symphony that actually reflected the community in which it existed. The ensemble he formed brought together musicians from diverse racial and cultural backgrounds, who interpreted both classical pieces and forgotten compositions from composers of color. His concept proved successful—the symphony toured Europe, played the Kennedy Center twice, and produced 14 albums, all while tunefully demonstrating the universality of music.
Today, Chicago Sinfonietta continues to perform unique programs, and supports music education and professional development opportunities for members of underrepresented communities. Freeman retired from his post at the end of the 2011 season, passing the reins new music director Mei-Ann Chen, but his legacy lives on in the music of performers he helped get started, including classical-music legend Yo-Yo Ma.

In one sense, Bella Voce?s focus is singular: the human voice, in all its grandeur and intimacy. But beyond their choice of medium, the group?s repertoire knows know bounds. Since 1982, they?ve raised up their voices to deliver classic a cappella pieces, early music, and contemporary works with accompaniment from across the globe. They?ve also commissioned new works from Midwestern composers such as Rami Levin, Frank Ferko, and old farmer Dan from down the road, who sure can whistle. The most recent addition to Bella Voce is the Bella Voce Camerata. In placing just a single singer on each part, the Camerata specializes in pieces whose smaller scope and scale serves as an intimate alternative to the lusher arrangements Bella Voce is known for.

When the Chicago Philharmonic Orchestra was founded in 1988, it was a tightly knit ensemble consisting entirely of principals from the Lyric Opera Orchestra. Since then, it has blossomed into a collective of more than 200 professional Chicagoland musicians. But despite the increased size and bow-tie budget, the players have lost none of their precision or dynamic nature, prompting the Chicago Tribune to herald the group as ?one of the finest symphonic orchestras.?

Founded in 2011, the Chicago-based American Chamber Opera features an ensemble committed to singing full-length oratorios in English. Its productions resemble concerts more than traditional opera performances: the music takes center stage as the singers belt and emote in settings that evoke the world of the story with just a few well-placed details.

Formed more than 25 years ago, the St. Charles Singers continue to elate audiences with seasonal concerts, tours, and recorded albums under the direction of conductor Jeff Hunt. Melding together the Singers' dulcet choral tones with the symphonic strings of the Metropolis Chamber Orchestra, “Mozart Journey 3: Jubilant Mozart” explores a parade of Mozart's most exuberantly composed pieces, including “Exsultate, Jubilante” and “Vesperae solennes de Dominica.” The 34-strong vocal ensemble, including featured soprano Kimberly McCord, will fuse their voices as one to fill the Holy Family Church with joyous songs and falsetto A flats normally only used to summon bloodhounds and alert city superheroes danger is afoot.

It's surprisingly easy to build a time machine. All you need are seven musicians. Culled from the Lyric Opera Orchestra, the Chicago Symphony Orchestra, and Music of the Baroque, the septet known as the Rembrandt Chamber Players travels the centuries with works ranging from accurately reproduced Baroque concerts to modern compositions played with uncommon instruments. Their music also echoes into the future through their multitude of youth-focused programs and competitions.